Unforced Rhythms

Total Page:16

File Type:pdf, Size:1020Kb

Unforced Rhythms UNFORCED RHYTHMS why daily devotions aren’t for all of us Gwen Jackson Copyright © 2017 by Gwen Jackson Published by Wesleyan Publishing House Indianapolis, Indiana 46250 Printed in the United States of America ISBN: 978-1-63257-214-1 ISBN (e-book): 978-1-63257-215-8 Library of Congress Cataloging-in-Publication Data Jackson, Gwen, author. Unforced rhythms : why daily devotions aren’t for all of us / Gwen Jackson. Indianapolis, Indiana : Wesleyan Publishing House, [2017] | Includes bibliographical references. | LCCN 2017030448 (print) | LCCN 2017036809 (ebook) | ISBN 9781632572158 (e-book) | ISBN 9781632572141 (pbk.) | ISBN 9781632572158 (ebook) LCSH: Spirituality--Christianity. | Devotional exercises. | Spiritual life--Christianity. LCC BV4501.3 (ebook) | LCC BV4501.3 .J3263 2017 (print) | DDC 248.3--dc23 LC record available at https://lccn.loc.gov/2017030448 “Life Rhythm Theory” by David Drury. www.daviddrury.com. Used by permission. All Scripture quotations, unless otherwise indicated, are taken from The Message. Copyright © 1993, 1994, 1995, 1996, 2000, 2001, 2002. Used by permission of NavPress Publishing Group. Scripture quotations marked (NLT) are taken from the Holy Bible, New Living Translation, copyright © 1996, 2004, 2007, 2013 by Tyndale House Foundation. Used by permission of Tyndale House Publishers, Inc., Carol Stream, Illinois 60188. All rights reserved. Scripture quotations marked (NIV) are taken from the Holy Bible, New International Version®, NIV ®. Copyright © 1973, 1978, 1984, 2011 by Biblica, Inc. Used by permission. All rights reserved worldwide. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means—electronic, mechanical, photocopy, recording, or any other except for brief quotations in printed reviews, without the prior written permission of the publisher. CONTENTS Foreword 7 Preface 11 Acknowledgments 13 Introduction: vulnerability, the key to connection 15 PART 1: Barriers to Intimacy with God 1. Ought and Should: the barrier of self-imposed burdens 25 2. Measuring Up: the barrier of false expectations 37 3. Daily Grind: the barrier of chronic defeat 43 4. Two Trails: the barrier of perfectionism 51 PART 2: Discoveries That Bring Freedom 5. Just Live: discovering what matters most 67 6. The Yoke: discovering the freedom to love 87 7. Feel the Beat: discovering life rhythms 105 UNFORCED RHYTHMS PART 3: Finding Your Rhythm 8. Sunrise, Sunset: exploring daily rhythm 113 9. When a Plan Comes Together: exploring weekly/monthly rhythm 119 10. The Year of Jubilee: exploring seasonal/yearly rhythm 127 11. Freedom! life rhythms in action 139 PART 4: Engaging the Spiritual Practices 12. The Heartbeat of Spiritual Formation: why we do what we do 163 13. Follow His Lead: choosing spiritual practices for your life rhythm 173 Appendix A: Spiritual Disciplines 193 Appendix B: Group Interaction 195 Notes 201 6 FOREWORD o evangelicals, the practice of “daily devotions” has Tbecome a sacrament. More than that, for many, this ritual of getting up early, reading the Bible, and praying has become the prime sacrament, even edging out the Lord’s Supper. Ask Christians for the single greatest secret of a successful Christian life, and most will answer, “morning devotions.” In this book, Gwen Jackson tackles the highly sensitive subject of how moderns have turned daily devotions into a required practice of the devoted life. It has become almost an idol to some. Any practice can become an idol when the method is worshiped more than God. Moses set 7 UNFORCED RHYTHMS up a pole to cure people from snakebites in the wilderness as a wonderful means of healing and grace. Yet later, Israel turned to worshiping the pole itself. The means of grace got more attention than God. This is what some Christians have done with daily devotions. Have you felt this pressure to fit into the daily devotions mold, even though your life runs on a different rhythm? Many of us have been told the really elite Christians also maintain a prayer list, and they spend time journaling as well. Some preachers promised us that, after an hour—or two, or three—of this “time alone with God,” we would “come down from the mountain” with faces aglow from having spent time with Jesus before breakfast each day. This is what we’ve been urged to practice: piety as a solitary practice, preferably in the morning, on a twenty- four-hour cycle. When someone turns their back on God and falls into grave sin, we warn each other, “Better keep up on your devotions, or you could fall too.” Face it, you’ve probably never heard someone say, “Better keep taking communion or you, too, could fall like that?” In today’s church, daily devotions have become the number one sacrament. This is the primary way we expect God to change us—even more so than attending church. The author of this book does not diminish the impor- tance of prayer or Bible reading. She deeply believes in and practices these disciplines. These practices, and more than a dozen others, have been honored among Christians for more than a thousand years. What this author does challenge, however, is the notion that prayer and reading on a twenty-four-hour cycle—the daily and morning part of daily morning devotions—should be a requirement for 8 FOREWORD all people. She urges us to make room for other rhythms of personal spiritual practice. This must have been a tough book to write. Who wants to appear to be disassembling what has become a sacra- mental rite? Wouldn’t the church be better if more people had daily devotions, not fewer? Yet Gwen does not dis- courage people who keep a daily regimen of prayer and Bible reading to stop. She merely offers encouragement to the many folks who live to the sound of a different life rhythm. She tells these folk that they don’t have to squeeze into a rigid box of traditional, daily devotional practices. People with different rhythms can also draw closer to God. Are your daily morning devotions flourishing? Great! The premise of this book is not dangerous to you. It won’t talk you out of your morning ritual. What it will do is give you ideas to expand your practices to include other rhythms beyond daily ones. Even if you are a “very daily person,” you already have some weekly rhythms: Satur- days, Sundays, hump days. And for sure you have annual rhythms like birthdays, vacations, back-to-school weeks, Christmas, Ash Wednesday, Lent, Easter, Pentecost, and Thanksgiving. This book is likely to inspire you to add some annual or seasonal practices to your spiritual rhythm. If your daily devotions are flourishing, read this book because it will expand your means of devotion. Have you had trouble making devotions a daily routine? Perhaps you never felt quite right fitting into the glass slipper of daily morning devotions. Do you feel guilty? Are you embarrassed? Are you afraid you might be a substandard Christian? Maybe you’ve tried and failed so 9 UNFORCED RHYTHMS many times you’ve simply given up. For you, this book will be liberating! Here you will get to know one of the great saints of our age, an author who struggled just like you before discovering there is more than one way to draw close to God. You’ll find alternative paths, based on other rhythms—unforced rhythms. You will be delighted to discover there is a size that fits you, your rhythm, your time of life, and your schedule. For you, this book will be absolutely liberating! Or, are you a pastor or church leader? This book will help you develop a new vocabulary of devotion. It will prod you to stop elevating daily morning devotions as the best or even the only way to know God. It will draw you back to core practices like prayer and Bible reading instead of the package we’ve been putting these into. When we do, we will lead more church folks into greater devotion to God because they will have found the rhythm of life that works best for them. And that will be a great thing! —Keith Drury 10 INTRODUCTION vulnerability, the key to connection can’t believe I’m telling you all this,” Courtney said as Ishe sat across the table from me. We had been sitting in a coffee shop in downtown Indianapolis for over an hour. My twenty-something daughter had connected the two of us. “Mom, would you be willing to meet with a friend of mine?” It was the first time I had met Courtney, a mid-twenties young woman who was wearing jeans, a wool sweater, and ankle-high boots on that crisp, fall day. With a soft, patterned scarf layered around her neck, she had the look of rugged cuteness. Her pixie cut was perfect for her round face, her black hair matching equally dark eyes. 15 UNFORCED RHYTHMS I listened to her story, the current life situation that had brought the two of us together. Three-plus hours later, we exchanged a hug and set up a time to meet again in the near future. Courtney and I met consistently for the next three years until she made a move to the West Coast. Iron- ically, Courtney must have sensed that I was writing about her because I received a text while writing this portion of the book: “Hey Gwen! You free to chat tomorrow or Saturday sometime?” Connecting with people one-on-one is one of my favorite things to do. I love meeting people, hearing their stories, and getting to know them through those stories. Surface talk has its place, but going deeper, to the soul and spirit of a person, allows perspectives to change and understanding to take root.
Recommended publications
  • The Rhythm of Life
    THE RHYTHM OF LIFE Resource Pack Introduction This pack celebrates music and the benefits of its use in working with older people. In particular it celebrates the musical experiences gained from a collaborative project involving 104 older people in care settings across County Durham, along with their support workers, local authority activity staff, and professional musicians from Live Music Now. Music has been shown to have many benefits in care settings, ranging from increased self-confidence and social interaction, to improved physical coordination and memory function. The Rhythm of Life project was designed to explore these benefits by inspiring older people in sheltered accommodation / housing and day care settings to develop their musical skills and enjoy creating and performing their own songs and stories. They were encouraged to explore using music as a creative outlet, while participating in singing, playing instruments, writing poetry and sharing memories. The idea of this pack is to bring together our findings from the Rhythm of Life project and provide a resource for activity staff and non-musicians to develop music work with diverse user groups. It is designed to offer tips for planning your sessions, ideas for activities that you can develop and thoughts on evaluating and documenting your sessions in a way that is relevant and meaningful. Most of all we hope you find the pack encourages everyone who looks at it to think about and celebrate what makes music so special, fun and unique in the way it can be a part of everyone’s Rhythm of Life. Ros Hawley, April 2010 “I really enjoyed the music today because I was actually doing it myself, rather than just listening.
    [Show full text]
  • What Do We Want from Public Sculpture? See Page 9
    a newspaper for the rest of us www.lansingcitypulse.com November 7 - 13, 2018 What do we want from public sculpture? See page 9 SOWETO GOSPEL CHOIR “Sheer jubilation … the rhythm of life.” –Herald Sun, Melbourne SUNDAY, NOVEMBER 18, 6:30 pm WHARTONCENTER.COM • 1-800-WHARTON Sponsored by The Doctors Company. Media Sponsor: Michigan Radio. 2 www.lansingcitypulse.com City Pulse • November 7, 2018 FOOD SAFE! Greater Lansing Potters’ Guild Pottery Sale CELEBRATING Fall 2018 AUTUMN Thursday - Nov. 15th - 5:30 pm to 9:00 pm Friday - Nov. 16th - 9:00 am to 9:00 pm Stop by to see all the new merchandise arriving daily Saturday - Nov. 17th - 9:00 am to 4:00 pm Including Halloween and beautiful new pottery All Saints Church, 800 Abbot Road East Lansing, Michigan Remember the Grove Gallery, Woven Arts and the other small businesses, and we all validate parking! Expires 12-7-18 MASTER 10th Annual JAMM Tribute Concert WORKS 02 featuring 2019 JAMM Tribute Honoree, BRAHMS Jeff Shoup SYMPHONY NO.3 AVA ORDMAN, TROMBONE NOV 15 TICKETS THU 517.487.5001 7:30P LANSINGSYMPHONY.ORG WHARTON TIMOTHY MUFFITT CENTER Conductor & Music Director PRESENTED BY The Loomis Law Firm Sunday November 11, 2018 SPONSORED BY Sam & Mary Austin, Fund for New Music 2 - 5 pm (Doors open at 1:30) Don & Jan Hines UrbanBeat Event Center, Old Town, Lansing $20 General Admission $15 JAMM Members $25 at the door (if available) Tickets: jazzjamm.com City Pulse • November 7, 2018 www.lansingcitypulse.com 3 PLASTIC SURGERY IPL for Better Skin Of the many signs of aging, irregular brown and red pigmentation of skin is all too common.
    [Show full text]
  • The Rhythm of Life
    THE RHYTHM OF LIFE BY CHARLES BRODIE PATTERSON AUTHOR OP "dominion AND POWER," "THE WILL TO BE IWELL," "A NEW HEAVEN AND A NEW EARTH," "WHAT IS NEW THOUGHT?" "iN THE SUNLIGHT OF HEALTH," "LIVING WATERS," "THE MEASURE OF A MAN," "beyond THE CLOUDS," "THE LIBRARY OF HEALTH," "new THOUGHT ESSAYS" Fonnerly Editor of Mind and The Arena NEW YORK THOMAS Y. CROWELL COMPANY PUBLISHERS 3H4 Copyright, 1915, By CHARLES BRODIE PATTERSON l'^ APR -7 1916 Ci.A428423 FOREWORD Dear Dr. Charles Brodie Patterson This is a work for which I have long waited. I find here a fundamental examination of spiritual and physical laws relating to the rhythmic and vibratory forces that rule in the human sphere of thought and feeling. At a time when so much work is done, having mere impressionism as a basis, it is a source of joy to know that you have put into this book the product of years of patient observation and searching analysis, and I feel certain that it will stand the test of time. In Chapter III, under the title "Energy-Motion- Vibration," you go to the foundation of the subject of vibration, and in "Music and Colour Tones" you show their relation, and write with absorbing interest. My first experience with the therapeutical power of music was in Paris at a time when the subject was not even discussed; but not until I went to live in London did I put the subject to a practical test. A friend of mine, the late Miss Clara Barton, who was for a long time President of the Red Cross Associa- tion of America, being dangerously ill, I was strongly impressed to try what musical improvisation would do in her case; a piano was moved into her apartment, and there every day I improvised for about one hour.
    [Show full text]
  • Report R Esumes
    REPORTR ESUMES ED 1)17 546 TE 499 996 DEVELOPMENT AND TRIAL IN A JUNIOR AND SENIOR HIGH SCHOOL OF A TWO VEAP CURRICULUM IN GENERAL MUSIC. BY- REIMER, BENNETT CASE WESTERN RESERVE UNIV., CLEVELAND, OHIO REPORT NUMBER ti-116 PUB DATE AUG 67 REPORT NUMBER BR -5 -0257 CONTRAC% OEC6-10-096 EDRS PRICE MF-$1.75 HC-617.56 437P. DESCRIPTORS- *CURRICULUM DEVELOPMENT, *CURRICULUM GUIDES, *MUSIC EDUCATION, *SECONDARY EDUCATION, MUSIC, MUSIC ACTIVITIES, MUSIC READING, MUSIC TECHNIQUES, MUSIC THEORY, INSTRUMENTATION, LISTENING SKILLS, FINE ARTS, INSTRUCTIONAL MATERIALS, TEACHING TECHNIQUES, JUNIOR HIGH SCHOOL STUDENTS, SENIOR HIGH SCHOOL STUDENTS, CLEVELAND, THIS RESEARCH PRODUCED AID TRIED A SYLLABUS FOR JUNIOR AND SENIOR HIGH SCHOOL GENERAL H,:lSIC CLASSES. THE COURSE IS BASED ON (1) A STUDY OF THE CURRENT STATUS OF SUCH CLASSES AND SUGGESTIONS FOR IMPROVING THEM,(2) A PARTICULAR AESTHETIC POSITION ABOUT THE NATURE AND VALUE OF MUSIC AND THE MEANS FOR REALIZING MUSIC'S VALUE,(3) RELEVANT PRINCIPLES OF COURSE CONSTRUCTION AND PEDAGOGY FROM THE CURRICULUM REFORM MOVEMENT IN AMERICAN EDUCATION, AND (4) COMBINING THE ABOVE POINTS IN AN ATTEMPT TO SATISFY THE REQUIREMENTS OF PRESENT NEEDS, A CONSISTENT AND WELL-ACCEPTED PHILOSOPHICAL POSITION, AND CURRENT THOUGHT ABOUT EDUCATIONAL STRATEGY. THE MAJOR OBJECTIVE OF THE COURSE IS TO DEVELOP THE ABILITY TO HAVE AESTHETIC EXPERIENCES OF MUSIC. SUCH EXPERIENCES ARE CONSIDERED TO CONTAIN TWO ESSENTIAL BEHAVIORS -- AESTHETIC PERCEPTION AND AESTHETIC REACTION. THE COURSE MATERIALS ARE DESIGNED TO SYSTEMATICALLY IMPROVE THE ABILITY TO PERCEIVE THE AESTHETIC CONTENT OF MUSIC, IN A CONTEXT WHICH ENCOURAGES FEELINGFUL REACTION TO THE PERCEIVED AESTHETIC CONTENT.
    [Show full text]
  • Read! 1998 Summer Library Program Manual. INSTITUTION
    DOCUMENT RESUME ED 415 857 IR 056 824 AUTHOR Roeber, Jane A., Ed. TITLE Make Waves: Read! 1998 Summer Library Program Manual. Bulletin No. 98107. INSTITUTION Wisconsin State Dept. of Public Instruction, Madison. ISBN ISBN-1-57337-045-3 PUB DATE 1998-00-00 NOTE 254p. PUB TYPE Guides Non-Classroom (055) EDRS PRICE MF01/PC11 Plus Postage. DESCRIPTORS Children; Educational Games; Educational Resources; Elementary Education; Hearing Impairments; Internet; Learning Activities; *Library Extension; Library Planning; Public Libraries; Publicity; *Reading Materials; *Reading Programs; School Libraries; State Programs; *Summer Programs; Theater Arts; Visual Impairments; Young Children IDENTIFIERS Wisconsin ABSTRACT This manual is designed to help individual libraries in Wisconsin plan and implement their summer library programs. The manual is divided into six sections. Section 1 covers planning and promoting programs, and includes reproducible promotional materials, sample letters to parents, and sample media materials. Section 2 provides decorating and display ideas for the library and name tag designs. Section 3 provides programs and activities. It recommends general resource materials; talks about surfing the Internet; provides poetry, stories, and plays to perform; outlines storytime programs; and describes water-related activities and crafts. The majority of programs are aimed at young children. Section 4 provides giveaways and games, including clip art, puzzles and word games, mazes and coloring pages, and answer keys. Section 5 lists Wisconsin performing artists with a description of their performance type and contact information. Section 6 contains sources and resources, including resources for people who have hearing loss and/or visual disabilities and catalogs of companies that provide additional sources of materials and prizes.(SWC) ******************************************************************************** * Reproductions supplied by EDRS are the best that can be made * * from the original document.
    [Show full text]
  • The Rhythm of Life Adriana Müller (05/12/11)
    The Rhythm of Life Adriana Müller (05/12/11) 1 Prelude The Rhythm of Life is a methodology based on Collective Narrative Practices that uses the musical instruments as its major metaphor. The origins of this approach can be traced looking back to the history of my life, and also, to some special persons I had the great opportunity to meet. Concerning my family background, on my father’s side, my relatives live in several different countries in Europe and America. Every time we get together we have to deal with some speaking and cultural aspects. That’s why I’ve learned since an early age, that even speaking different language, we are able to communicate and we are all part of a big family. With my mother’s side of the family, I’ve learned how to care. And, also, I’ve learned the power of music. My grandfather was a doctor and, besides that, he used to play several musical instruments – he even (believe it or not) played songs on leaves from the trees. So I came to learn that everything in life can become a nice tune - and, above all, that music can cure. According to the Rhythms of Life we are different musical instruments playing, each one of us, our own music. But, when we get together, we may form a beautiful orchestra. I also acknowledge Michael White’s contribution. I had the opportunity of meeting him in 2005, in a workshop in Salvador, Bahia, Brazil. In that workshop I learned about the Narrative Therapy – and that has perfected my professional perspective in life.
    [Show full text]
  • Of the Blues Aesthetic
    Skansgaard 1 The “Aesthetic” of the Blues Aesthetic Michael Ryan Skansgaard Homerton College September 2018 This thesis is submitted for the degree of Doctor of Philosophy Skansgaard 2 Declaration: This dissertation is the result of my own work and includes nothing which is the outcome of work done in collaboration except as declared in the Preface and specified in the text. It is not substantially the same as any that I have submitted, or, is being concurrently submitted for a degree or diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. I further state that no substantial part of my dissertation has already been submitted, or, is being concurrently submitted for any such degree, diploma or other qualification at the University of Cambridge or any other University or similar institution except as declared in the Preface and specified in the text. At 79,829 words, the thesis does not exceed the regulation length, including footnotes, references and appendices but excluding the bibliography. This work follows the guidelines of the MLA Handbook for Writers of Research Papers. Acknowledgements: This study has benefitted from the advice of Fiona Green and Philip Coleman, whose feedback has led to a revitalised introduction and conclusion. I am also indebted to Donna Akiba Sullivan Harper, Robert Dostal, Kristen Treen, Matthew Holman, and Pulane Mpotokwane, who have provided feedback on various chapters; to Simon Jarvis, Geoff Ward, and Ewan Jones, who have served as advisers; and especially to my supervisor, Michael D.
    [Show full text]
  • COVID Directory November.Indd
    ARTSTARTS COVID CONSCIOUS ARTIST DIRECTORY 2020/21 COVID Conscious Artist Directory 2020/21 ARTSTARTS COVID CONSCIOUS ARTIST DIRECTORY 2020/21 Welcome to ArtStarts’ COVID Conscious Artist Directory! What is it? The ArtStarts COVID Conscious Directory was created in response to the social gathering limitations and overall health restrictions due to the current global climate. Our hope with this directory is to make arts experiences still accessible for students in the province, especially during such a challenging and uncertain time. Here you will find a collection of our Artist on Tour Directory artists who are offering online programming as well as tailored in school performances and workshops that are safer and adhere to the provincial health guidelines. This includes socially distant workshops, smaller performance sizes, and limiting travel to within the region the Artist is based. We will be using this specific directory for schools and districts to book from until the province deems it safe for programming to return to normal. If that happens throughout the 2020- COVID Conscious 2021 school year we will support schools and artists to decide if they want to shift their COVID Conscious booking to the artist listing on the general AOTD. How do I book? Artist Directory 2020/21 If you are interested in booking any of the artists on our COVID Conscious Directory, please email [email protected] with the following information: • Name of artist/group • Your school name • Number of participants and grade range • Preferred dates (if any) We will reach out once we have tentative dates for you. Additional Notes We are encouraging all Artists to self assess if they or any of their group members will be entering schools for risk of COVID-19.
    [Show full text]
  • 2021 Breeze Show Choir Catalog
    Previously Arranged Titles (updated 2/24/21) Specific details about each arrangement (including audio samples and cost) are available at https://breezetunes.com . The use of any of these arrangements requires a valid custom arrangement license purchased from https://tresonamusic.com . Their licensing fees typically range from $180 to $280 per song and must be paid before you can receive your music. Copyright approval frequently takes 4-6 weeks, sometimes longer, so plan accordingly. If changes to the arrangement are desired, there is an additional fee of $100. Examples of this include re-voicing (such as from SATB to another voice part), rewriting band parts, making cuts, adding an additional verse, etc. **Arrangements may be transposed into a different key free of charge, provided that the change does not make re-voicing necessary** For songs that do not have vocal rehearsal tracks, these can be created for $150/song. To place an order, send an e-mail to [email protected] or submit a license request on Tresona listing Garrett Breeze as the arranger, Tips for success using Previously Arranged Titles: • Most arrangements can be made to work in any voicing, so don’t be afraid to look at titles written for other combinations of voices than what you have. Most SATB songs, for example, can be easily reworked for SAT. • Remember that show function is one of the most important things to consider when purchasing an arrangement. For example, if something is labelled in the catalog as a Song 2/4, it is probably not going to work as a closer.
    [Show full text]
  • To Spice up America
    OCOTBER4, 1997 Music VOLUME 14, ISSUE 40 £3.95 DM11 It's a love thing... Eros' FFR35 Amore climbs M&M's USS7 Most Added and Bor- Media® Da11.50 der Breakers charts. BMG sees Logic in Berry's imports ready newFrankfurt moveto Spice up America by Christian Arndt Although the by Christian Lorenz chairman of Virgin labels will con- America and Virgin FRANKFURT - BMG Entertainment tinuetowork LONDON - The Los Angeles HQ of Vir- Music Group Worldwide, GSA is to launch a new BMG Frank- independently, gin Records America has just adopted a effective immediately. furt division incorporating its flagship Starkwill co- distinctly British accent. Nancy Berry will be dance label, Logic Records. ordinate general Virgin Records U.K. will lose keyassisted in the day-to- The creation of BMG Frankfurt,A&R policies to executives in a move which follows theday business of the U.S. announced by BMG Entertainment avoid overlaps of departure of CEO and president Philcompany by the former GSA president Thomas M Stein, is in label profiles. Quartararo after ten years with the Virgin U.K joint manag- line with the company's long-term Dirk Baur, a company. On September 22, U.K-borning directors Ashley Newton and Ray strategy of building creative centres informer assistant Ken Berry, president of EMI Recorded continued on page 20 cities with major music scenes within toThomas M Music and chairman of the Virgin Music the region. The company already oper- Stein, has been Group Worldwide (Music & Media, June ates three such divisions in Munich, continued on page 20 7), named his spouse Nancy as vice Hamburgand-sinceJuly-Berlin (Music & Media, August 9).
    [Show full text]
  • Holland-Dozier-Holland Someone Had to Write All the Soul Hits
    Richard Hopkins, Producing Artistic Director Please do not take the Cabaret Book. You may download a complete copy at: www.floridastudiotheatre.org Jordan Craig, Andrew Mauney, Luke Minx, and Ryan Connolly. Photo by Maria Lyle. Maria by Photo Connolly. Ryan and Minx, Luke Mauney, Andrew Craig, Jordan Table of Contents What is Cabaret?, page 3 A brief history of the artform. A Brief History of Soul Music, pages 4-5 Learn about how the artists of the era took the music industry by storm. Music Milestones, pages 6-7 Learn about the major events that occured throughout history with Rhythm and Blues groups as well as solo artists of the genre. Throughout the Eras, pages 8-12 Some of the top recording solo artists and groups during the 60s and 70s. Jordan Craig. Photo by Maria Lyle. 2 What is Cabaret? It began in Paris on November 18, 1881, the year in which the first and most famous cabaret of all, the Chat Noir (Black Cat), was established. Paris, during what the French like to call the Belle Epoque, was the cultural capital of Europe; the mecca of the arts to which admirers and young hopefuls flocked from one end of Europe to the other, and indeed from still farther away. If something caught on in Paris, the immense reputation of the city as the source of fashion and innovation ensured its rapid diffusion across the continent and beyond. Besides giving rise to many cabarets in Paris itself, in its own time and after it became history, the Chat Noir also inspired the introduction of cabaret in major cities throughout Europe in the late nineteenth and early twentieth centuries.
    [Show full text]
  • The 2020 Moment for Music Online Guide March
    Welcome to the 2020 Moment for Music Online Guide You can download a PDF of this guide here For access to the full clips, you will need access to YouTube.com Clips may be shown on screen or played over announcements/speakers only. Please let us know if you experience technical issues by emailing [email protected] nd March 2 – Read Across America Day Seussical the Musical, “Green Eggs and Ham" Arr. Lynn Ahrens & Stephen Flaherty nd I bet you already knew that Read Across America Day is celebrated on or around March 2 , which is the author Dr. Seuss’s birthday. If he were alive today, he’d be 116 years old. What you may not know is that there is a musical based on the many books by Dr. Seuss called Seussical the Musical. It debuted on Broadway in the year 2000 and is still a very popular play at schools and small theatres. Major characters include The Cat in the Hat, Horton the Elephant and, of course, The Grinch. Listen to the lyrics of “Green Eggs and Ham” from Seussical the Musical. Do you hear rhyming words that sound familiar? https://www.youtube.com/watch?v=scbRRYzo9WU Other Activities: • Pick another book by Dr. Seuss and make up your own tune for the words in the book. • Choose other characters you remember from Dr. Seuss books – would they be good characters in the musical? Why or why not? March 3rd - National Anthem Day "The Star Spangled Banner" Lyrics: Francis Scott Key, Tune: British Folk Song Recorded by: Jimi Hendrix The United States will celebrate its 244th birthday this July, but it didn't have an official national anthem until 1931.
    [Show full text]